Francisco Vieira, an eminent Portuguese painter, was still a child when
he became enamored of Doña Ignez Elena de Lima, the daughter of noble
parents, who lived on friendly terms with his own and permitted the
intercourse of their children. The thread of their loves was broken for
a while by the departure of the young wooer to Rome, in the suite of the
Marquis of Abrantes. There he applied himself diligently to the study of
painting, under Trevisani, and carried off the first prize in the
Academy of St. Luke. On returning to Portugal, although only in his 16th
year, he was immediately appointed by King John V. to paint a large
picture of the Mystery of the Eucharist, to be used at the approaching
feast of Corpus Christi; and he also painted the king's portrait.
An absence of seven years had not affected Vieira's constancy, and he
took the first opportunity of flying once more to Ignez. He was kindly
received by the Lima family, at their villa on the beautiful shores of
the Tagus, and was permitted to reside there for a while, painting the
scenery, and wooing his not unwilling mistress. When the maiden's heart
was fairly won, the parents at length interfered, and the lovers found
the old adage verified, that "the course of true love never did run
smooth." Vieira was ignominiously turned out of doors, and the fair
Ignez was shut up in the convent of St. Anna, and compelled to take the
veil.
The afflicted lover immediately laid his cause before the king, but
received an unfavorable answer. Nothing daunted, he then went to Rome,
and succeeded in obtaining from the Pope a commission to the Patriarch
of Lisbon, empowering him to inquire into the facts of the case; and
that prelate's report being favorable, the lover was made happy with a
bull annulling the religious vows of the nun, and authorizing their
marriage. It is uncertain how long this affair remained undecided; but a
Portuguese Jesuit having warned Vieira that at home he ran the risk of
being punished by confiscation of his property, for obtaining a bull
without the consent of the civil power, he prolonged his residence at
Rome to six years, that the affair might have time to be forgotten at
Lisbon. During this period he continued to exercise his pencil with so
much success that he was elected a member of the Academy of St. Luke.
After such a probation, the energy and perseverance of the lover is
almost unparalleled. He finally ventured to return to his native Tagus,
and accomplished the object of his life. Disguising himself as a
bricklayer, he skulked about the convent where Ignez lay immured,
mingling with the workmen employed there, till he found means to open a
communication with her and concert a plan of escape. He then furnished
her with male attire, and at last successfully carried her off on
horseback (though not without a severe wound from the brother of his
bride), to another bishopric, where they were married in virtue of the
Pope's bull. After residing for some time in Spain and Italy, however,
Vieira was commanded to return to Portugal, and appointed painter to the
king. Being the best artist in that kingdom, his talents soon
obliterated the remembrance of his somewhat irregular marriage, and
during forty years he painted with great reputation and success for the
royal palaces at Nafra and elsewhere, for the convents, and the
collections of the nobility. It will doubtless be pleasing to the fair
readers of these anecdotes, that all this long course of outward
prosperity was sweetened by the affection of his constant wife.